G.I. JOE: SILENT INTERLUDE 30th ANNIVERSARY EDITION presents the story that defined a generation—G.I. JOE: A REAL AMERICAN HERO #21, the famous SILENT INTERLUDE story by and Steve Leialoha.

This wordless issue introduced the world to SNAKE EYE’s mysterious nemesis and his ARASHIKAGE NINJA—and essays by Mark Bellomo offer a look into the inspiration and creation of this comic book classic.

Plus—an unprecedented glimpse of Larry Hama’s original layouts and a bonus silent issue by Larry Hama and Joe Benitez! Includes G.I. JOE: A REAL AMERICAN HERO #21 and G.I. JOE: ORIGINS #19.

www.idwpublishing.com • $19.99

G.I. Joe: A ReAl AmeRIcAn HeRo #21: “SIlent InteRlude” StoRy And BReAkdownS By lARRy HAmA FInISHeS By Steve leIAloHA coloRS By GeoRGe RouSSoS

G.I. Joe: A ReAl AmeRIcAn HeRo #21: “SIlent InteRlude” oRIGInAl BReAkdownS BReAkdownS By lARRy HAmA

G.I. Joe oRIGInS #19: StoRy And lAyoutS By lARRy HAmA PencIlS By Joe BenItez InkS By vIctoR llAmAS coloRS By J. BRown

IntRoductIon By mARk Bellomo

ISSue noteS By mARk Bellomo And lARRy HAmA

collectIon coveR By ed HAnnIGAn, , And Romulo FAJARdo JR.

oRIGInAl edItS By denny o’neIl, Andy ScHmIdt, And cARloS GuzmAn

collectIon edItS By cARloS GuzmAn

collectIon deSIGn By cHRIS mowRy

Special thanks to Hasbro’s Ed Lane, Joe Furfaro, Heather Hopkins, and Michael Kelly for their invaluable assistance ISBN: 978-1-63140-035-3 17 16 15 14 1 2 3 4 Ted Adams, CEO & Publisher Facebook: facebook.com/idwpublishing Greg Goldstein, President & COO Robbie Robbins, EVP/Sr. Graphic Artist Twitter: @idwpublishing Chris Ryall, Chief Creative Officer/Editor-in-Chief YouTube: youtube.com/idwpublishing Matthew Ruzicka, CPA, Chief Financial Officer Alan Payne, VP of Sales Instagram: instagram.com/idwpublishing Dirk Wood, VP of Marketing deviantART: idwpublishing.deviantart.com www.IDWPUBLISHING.com Lorelei Bunjes, VP of Digital Services IDW founded by Ted Adams, Alex Garner, Kris Oprisko, and Robbie Robbins Jeff Webber, VP of Digital Publishing & Business Development Pinterest: pinterest.com/idwpublishing/idw-staff-faves G.I. JOE: SILENT INTERLUDE 30TH ANNIVERSARY EDITION. JUNE 2014. FIRST PRINTING. HASBRO and its logo, G.I. JOE, and all related characters are trademarks of Hasbro and are used with permission. © 2014 Hasbro. All Rights Reserved. The IDW logo is registered in the U.S. Patent and Trademark Office. IDW Publishing, a division of Idea and Design Works, LLC. Editorial offices: 5080 Santa Fe St., San Diego, CA 92109. Any similarities to persons living or dead are purely coincidental. With the exception of artwork used for review purposes, none of the contents of this publication may be reprinted without the permission of Idea and Design Works, LLC. Printed in Korea. IDW Publishing does not read or accept unsolicited submissions of ideas, stories, or artwork.

Originally published by as G.I. JOE: A REAL AMERICAN HERO #21 and by IDW as G.I. JOE: ORIGINS #19.

IntRoductIon

Before discussing the contents of G.I. Joe: A Real American This two-issue diversion begs the question: If G.I. Joe was Hero #21 (hereafter, the title will be referred to as RAH), we so popular—one of Marvel’s best-selling books of the must frame that epic story upon what was taking place in 1980’s*—then why have two consecutive issues that the G.I. Joe canon at the time—with a quick nod to Marvel essentially disrupted the major plot of the book for a few Comics’ policy in the early 1980’s. You see, following the months during the franchise’s heyday? In retrospect, events of issue #19 (“Joe Triumphs!”), which resolved a producing “Silent Interlude” was forgivable (even number of sub-plots (e.g., the death of a number of major warranted), but #20 feels blatantly out of place. An odd characters; the conclusion of a plot to ferret out the issue to print, since G.I. Joe was by all accounts a location to G.I. Joe Headquarters), and before the threads of powerhouse with no hints of slowing down way back in the major plot of RAH were again picked up with issue #22 1984. (“Like Chimney Sweepers Come to Dust…”), there was an interruption to the omnipresent, overarching narrative of The answer? Unfortunately, oftentimes the creative teams the war between the G.I. Joe team and Cobra Command. on comic book titles would fall behind—an entirely Issue #20 (“Home is Where the War Is!”) and #21 were unacceptable situation for publishers who had only twelve stand-alone issues: the first focused on the Joes’ chances per year to collect revenue from the consumer. So transportation specialist, , and was written by Marvel had instituted what is commonly referred to as an substitute scribe Steven Grant and illustrated by penciller “inventory system,” where creators would get paid to Geof Isherwood—two contributors unfamiliar with the deliver filler issues to their editors; self-contained one-shot characters and the fundamental narrative; the second (or two-issue) tales that were outside of established featured the introduction of Snake Eyes’ sword brother, the continuity that could be utilized when a book’s creative Cobra Ninja known as Storm Shadow—a character that we team fell behind—which was inevitable. As explained by now know so well. Both issues took the reader away from Hama: “Marvel needed to publish 12 monthly issues per the title’s greater plot. title per year. If the writers or artists missed a deadline, the publisher would be screwed. [In the past] They usually would fish out an old issue and publish a re-print—a re-run of a former issue. instituted an ‘inventory story’ system. They would hire comic teams to produce self- contained stories (1 or 2 issues) that could be plunked in with little or no work to make up the distance. Inventory stories have fallen out of favor in comic book circles since, but the practice is still sound.”

However, these inventory issues were incentive for some writers or writer/artists to bank an extra issue or two (or three, or even four) a year—and get paid for something that would never see print. Some writers deliberately sabotaged these inventory issues by incorporating elements of plot or character that would become immediately outdated upon production, affording them the opportunity to create a bonus issue for which they would receive compensation, yet ensuring the tale would never see the light of day.**

RAH issue #20 was one of these fillers/inventory issues which allowed G.I. Joe’s creative team to play catch up. Yet, as previously mentioned, if editor Denny O’Neil utilized issue #20 just one or two years after it was created, the tale’s protagonist, Clutch, would have been featured in a different outfit (in his tan-and-brown uniform),and found driving the desert-themed VAMP Mark II instead of his standard ride, the VAMP Jeep, while the cast of supporting G.I. Joe team members featured in that issue (Doc, , etc.) would be rendered obsolete—cycled out of Hasbro’s retail toy releases. If O’Neil had waited until 1985-86 to plug Cover Artwork for G.I. JOE: A REAL AMERICAN HERO #20. the story into RAH continuity, instead of Doc being used as the G.I. Joe Medic, the editor had to ensure that the Joes’ new Rescue Trooper, , was incorporated into the book. In place of barking orders, the Joes’ new honcho could render a narrative that was a total, complete story— in the field became . In lieu of , we’d be treated to with a solid beginning, distinct middle, and end… with Sci-Fi, the Joes’ replacement Laser Trooper. conflict and characterization, quick action, and a strong resolution—without using balloons or captions or sound Regardless, “Home is Where the War Is!” afforded Larry effects. I felt that Marvel was going crazy with captions and Hama the opportunity to get his creative juices flowing once word balloons at the time and I wanted to go the other way again as both a writer and an artist. It is worth mentioning with it.” that during his lengthy tenure at Marvel Comics, when members of the Marvel Bullpen were starved for ideas re: Hama never seemed concerned about rendering character, comic book covers, many times they approached Larry because in his comics—and from his perspective— Hama, who would quickly render cover sketches for their characters took care of themselves. According to Hama, he books during his lunch hour—sometimes concocting three never wrote one tale within his 155-issue run with a plot set or four covers over the course of eating a sandwich. Hama ahead of time. He simply knew the characters, felt the plotted breakdowns and covers for his own RAH title as well, characters, and explored them (or allowed them to explore which kept his skills as a penciller honed razor sharp. Marvel themselves) within a specific context: Hama never knew by Zombies the world over recognize that Hama possessed what means a plot would end. Exactly how they reacted to artistic talent as well: his earliest work appeared in high- a certain situation is how he rendered their character. This profile magazines such as Esquire and Rolling even philosophy adds to the organic nature of character; before he broke into the underground comic movement. predetermination doesn’t work. Using Hama’s method, a Yet ultimately, Hama landed work as the featured penciller writer shouldn’t be thinking, “Hmm… What happens next?” for a series of tales in . This led to A writer should consider getting these characters on their editing gigs at both major publishers until he positioned feet; urging them to action and getting them moving. If himself at Marvel as an editor and writer. you’re predetermining things, you’re forcing the issue. Writers need to attain meaning by allowing characters to Although Larry Hama possesses obvious skill as a writer, his have a natural reaction to each other. To Hama, writing any deftness as an editor and talent as a draftsman are rarely other way is a screed—a ranting piece of fiction wherein (if ever) discussed: many pundits consider his pencils on characters are staunchly reinforcing the author’s point of issue #’s 21 & 26 to be some of the best illustrated comics view rather than reacting uniquely and realistically to each in the G.I. Joe canon—citing Hama’s mastery of composition other or to a particular setting or event. and sequential storytelling as par excellence: he is almost But I digress. savant-like in his understanding of the medium, having been asked to speak upon this topic as a keynote at international Although Hama had germinated this fabulous approach to universities and within the board rooms of the world’s writing a comic book story—one he’d been wanting to try premiere video game manufacturers, educating raconteurs out for some time, he seemed to be missing a lone element in the art of storytelling. Hama’s superior skill as a storyteller to this silent narrative: a place where this adventure could is clearly recognized by those who matter: those who were unfold. Hama’s inspirational setting came from the oddest exposed to his books during their formative years. of situations.

As evidence of his understanding of the medium, we need On a trip to Los Angeles during the spring of 1984, Hama look no further than Hama’s compilation of a Xeroxed visited the television production and animation company primer he constructed based upon his time as an assistant responsible for adapting the G.I. Joe license into a cartoon: to the late, great Wally Wood. Assembling nearly two dozen Sunbow Entertainment. Wandering through their offices on of Wood’s most iconic comic panels and distributing them a private tour, the curious writer peeked over the shoulder to artists in the Marvel Bullpen, Hama’s circulation of “Wally of a remarkably tall, unobtrusive storyboard artist by the Wood’s 22 Panels That Always Work!” stands as one of the name of George Foster Goode. Goode is remembered by his most important and oft-mentioned references utilized by peers within the forums of the online Animation Nation: The every aspiring graphic storyteller in the genre. Thanks to the Voice of the Animation Industry as “shyly elusive” and “one Internet, these “22 Panels” are ubiquitous, found in offices of the most naturally talented artists” in the medium. and cubbies, lounges and libraries: wherever comic books Responsible for creating storyboard work at Marvel are read or written. Productions and other animations studios in the 1980’s, he worked on many different projects from Muppet Babies to Simply put, as an editor, as a penciller, and as a writer, Hama Dungeons & Dragons, from The to Spiral Zone. has always recognized how to lay out and break down a And of course, on G.I. Joe: A Real American Hero. comic book adventure. However, one thing that Hama had always wanted to try out was an adventure told entirely On this particular day, Goode was rendering a new without words. Hama had toyed with the idea of writing a background for the G.I. Joe animated program, specifically completely silent issue for a while, as he wanted to “see if I the Cobra Temple—the building that had premiered in the first part of original mini-series (“The Cobra Strikes”) back in And after locating the fictional place where he could render the autumn of 1983, and was Cobra Command’s most this adventure which had been percolating in his commonly utilized headquarters. Goode was busy enjoying subconscious for a while, upon his return to New York City, himself, drafting different versions of the fortification, and Hama began to work on this narrative in earnest. Sitting at the one witnessed by Hama was elaborate and imaginative, his future wife’s dining room table on 12th Street in inspirational. The design of the Cobra Temple that Hama Manhattan’s West Village—in an apartment within the had observed Goode drafting looked far different from heart of the bohemian lifestyle which manifested on New Sunbow’s final design for the structure.*** York City’s West Side and was home to talented artists, writers, and musicians plying their craft 24-7—Hama began Based upon his best recollection, Hama remembered seeing to draw. At this cultural epicenter, in early 1984, Larry either a black-and-white draft of Goode’s elaborate citadel, Hama—writer, actor, penciller, musician, editor, martial or perhaps a colored pencil drawing of the castle. One that artist, veteran—exploded in a sustained creative burst. He was undoubtedly different from the castle featured in the began drawing the 22 pages to RAH issue #21 on a Friday animated program. However, since Hama wished to exhibit morning and finished on Monday morning: in just over three his own take on the concept, he added the radar dishes and days, Hama crafted the entire narrative. anti-tank gun emplacement and put it in a “Neuschwanstein setting.” Upon reflection, Hama admitted that the castle as Initially, it wasn’t well received. “We got lots of flak from he envisioned it was a “weird blend of George’s drawing and it,” states Hama. “Kids wrote in and said ‘I got a faulty copy, Mad King Ludwig’s fantasy castle… [with an] Egyptian all the words are gone,’ or ‘I felt cheated. I went through influence there as well.” So then, what are we to make of this whole thing in five minutes, and I didn’t get my money’s the writer’s allusions? Hama’s reference to ’s worth because there were no words.’ We got letters like fortification being designed with an Egyptian influence that.” But then it fomented and percolated in the minds of suggests such impressive existing structures as the Babylon the children who originally read it, and over the next few Fortress or the Citadels of Qaitbay and Salah Ed-Din. years they returned to the issue multiple times. They finally However, Hama’s mention of the stronghold possessing a comprehended the issue’s nuanced storytelling and layered Neuschwanstein flair calls to mind the famous narrative. With taut characterization and the seeds of the Neuschwanstein Castle, a glorious and extravagant 19th Snake Eyes vs. Storm Shadow conflict, only upon reflection Century Romanesque Revival palace built on a craggy hill in did aficionados realize the power of the issue and the a small town in southwest Bavaria, Germany. Constructed majesty it contained. as a private refuge for the reclusive (yet extravagant) Mad The end result speaks for itself: with the able assistance of King Ludwig II (nicknamed the “Fairy Tale King”), the 63,884 Steve Leialoha’s masterful, Eisner Award-winning inks over square foot citadel was assembled with Ludwig’s private Hama’s ingenious pencils (note that G.I. Joe character fortune—fueled by his devotion to extravagant art and ’s last name is “Leialoha” as an homage…), the issue architecture. The Neuschwanstein Castle was so perfectly was dubbed “Silent Interlude” due to the fact it was 1) an representative of the palaces of fables and legends that it interlude—a narrative that intervened between the closing became the inspiration for Sleeping Beauty’s Castle in act of RAH #19 and opening act of #22, and 2) it was utterly Disneyland. devoid of narration and/or speech balloons (Hama never Hama had finally found his setting for his wordless comic used thought balloons), and made it to press in the nick of book: a citadel that would come to be known as the Silent time; for an entire generation of comic book fans, RAH #21 Castle.**** is revered as one of the single greatest accomplishments in the history of the medium. Comic book artist and theorist Scott McCloud (author of Understanding Comics) refers to “Silent Interlude” as a “watershed moment for cartoonists of [a] generation. Everyone [in the business] remembers it.”

Interview any professional working in comics today and ask them to choose their favorite story arc of all time, and they’ll cite the canon: : The Dark Knight Returns (1986) or Watchmen (1986-87), Maus: A Survivor’s Tale (1991) or Bone (1991-2004), Kingdom Come (1996) or The Sandman (1989-1996), Fables (2002-present) or Preacher (1995-2000), and the list goes on, endlessly populated with nary a mention of Hama or his work. Perhaps the writer has never gotten his due because Hama toiled and dedicated his obvious talents on a “toy property”—a factor which functions as anathema to both critics and pundits back in the day. Yet even now, Hama’s only been invited to San Diego once in his life. But isn’t it all the more impressive that he gave us this The Neuschwanstein Castle. Photo by Jeff Wilcox (5/14/2005) peerless achievement in graphic storytelling from such an unexpected source? But if you tweak the above question a bit and ask these professionals “What is the single best individual issue of any comic book series you’ve ever read?” you’d be surprised at one of the most common answers.

It’s the issue you’re currently holding in your hands.

* According to Marvel’s then Editor In Chief, Jim Shooter, on his thoughtful blog (www.jimshooter.com), “G.I. Joe quickly became a top tier title and [Marvel’s] number one subscription title.” In the summer of 1985, internal correspondence memos from Cadence Industries (who owned Marvel from 1968-1986) cite that in subscriptions alone, RAH clearly outsold Marvel’s next-best title (Amazing Spider-Man): 43,173 people subscribed to RAH; 28,017 subscribed to ASM. Shooter—like almost everyone else involved with the brand from the top down—had this to say about the bestselling monthly book: “Bottom line, the comics were a big success, thanks almost entirely to Larry. The toys were a big success, thanks in large measure to Larry.”

** These inventory issues have staggering implications to pop culture. Most comic book collectors couldn’t imagine visiting Marvel’s vault and uncovering a tremendous stack of these undiscovered issues (utilizing creative teams from the seventies or eighties) that had been gathering dust, with the purpose of allowing rabid comic fans the privilege of viewing these curious issues for the very first time.

*** To view a lesser-detailed, more straightforward version of Goode’s interpretation of the Cobra Temple, simply go to 3:56 in “The Cobra Strikes” and view his early work on this fanciful building.

**** Hama had a diagram for the Silent Castle in mind when penciling #21, to the extent that he could picture the three- dimensional aspects of the building three decades after its creation: “There’s the Great Hall with the three vertical slit windows… the master suites above the great hall—one of which is Destro’s. The stairs from the dungeon lead up to the anterooms behind the Great Hall, where the vertical slit windows are more like doors that lead out onto the parapet enclosure where Snake Eyes is rescued by .”